By Jackie Hatfield, Stephen Littman
The earlier forty years of technological innovation have considerably altered the fabrics of construction and revolutionized the chances for test and exhibition. no longer because the invention of movie has there been this type of severe interval of significant swap within the imaging applied sciences obtainable to artists. Bringing jointly key artists in movie, video, and electronic media, the anthology of Experimental movie and Video revisits the divergent philosophical and demanding discourses of the Nineteen Seventies and repositions those debates relative to modern perform. 40 artists have contributed photos, and 25 artists consider the various serious agendas, contexts, and groups that experience affected their perform around the interval from the overdue Nineteen Sixties thus far. besides an creation through Jackie Hatfield and forewords through Sean Cubitt and Al Rees, this illustrated anthology comprises interviews and up to date essays by means of filmmakers, video artists, and pioneers of interactive cinema. Experimental movie and Video opens up the conceptual avenues for destiny perform and similar serious writing.
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Extra resources for Experimental Film and Video: An Anthology
Sample text
38 (1984), There Again (1987–91) and a tape/slide work: Confessional Fragments (1983) explored domesticity/domestic spaces in a more extended manner than had been conceivable at the time of Silver Street. However, the arbitrarily fictionalising nature of autobiography, and how one might film it, put a stop to this line of work. The stories one constructs about oneself, using shared languages and protocols, the necessarily exclusory, editorial, nature of self-description, combined with the self-censorship incurred by the awareness that one’s self-portrait will have a public audience for whom an impression is being created, all seemed to mitigate against anything like an adequate account of self.
We recognized that a primary experience of the photographic cinema is indexical – the viewer looks through the frame like a time-space window into the period and place when the image was produced. However, against this depictive aspect of the cinematic we wanted to play the fact that the film image is materially a small flat transparent surface the function of which is to transform the light that passes through it. We wanted to make a film that highlighted the materialistic and illusionistic aspects of cinema while keeping both of the aspects floating in parallel.
The main experience of experimental film. I have completely forgotten that. No matter which experimental film; it is, if process is present, material time; the viewer viewing is a continuous intervention. The temporality of a projected film is maintained, so is continuous intervention in – and as – the process of spectating, immeasurable possibility, endless. Then it is impossible to repress the time experience whether it be someone’s 2 minute or (interrupted-or not) 20 minute or 60 minute film.